After Gabriel Metsu (XIX), After - Il Cacciatore e la Dama





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Il Cacciatore e la Dama, a nineteenth‑century oil painting from Italy in the Dutch Golden Age style, attributed in the manner of Gabriel Metsu, measuring 68 × 53 cm and sold with its frame.
Description from the seller
Gabriel Metsu (Leiden, 1629 – Amsterdam, 1667) – "The Hunter and the Lady" – 19th-century reproduction in the style of the Dutch Golden Age.
Oil on canvas
Italy, the first half of the 19th century
Gilded wooden cornice with engraved plaque.
Refined 19th-century reproduction of the famous painting 'The Hunter and the Lady' by Gabriel Metsu, one of the masters of the Dutch Golden Age, preserved today at the Uffizi Gallery in Florence.
The work, executed in oil on canvas, shows a remarkable painterly quality: the rendering of fabrics, the delicacy of the faces, and the calibrated management of light evoke with fidelity the elegance and intimacy characteristic of the Dutch school of the 17th century.
The original gilded wooden frame, finely shaped, features a metal plaque at the bottom with the title of the work and the artist's name. On the back of the canvas, a handwritten inscription in Italian cursive in charcoal displays Metsu's title and birth and death dates, adding further historical charm to the work.
A work of great taste and decorative quality, typical of Italian academic production of the nineteenth century, created with philological respect towards the masters of Dutch Baroque.
Gabriel Metsu (Leiden, 1629 – Amsterdam, 1667) – "The Hunter and the Lady" – 19th-century reproduction in the style of the Dutch Golden Age.
Oil on canvas
Italy, the first half of the 19th century
Gilded wooden cornice with engraved plaque.
Refined 19th-century reproduction of the famous painting 'The Hunter and the Lady' by Gabriel Metsu, one of the masters of the Dutch Golden Age, preserved today at the Uffizi Gallery in Florence.
The work, executed in oil on canvas, shows a remarkable painterly quality: the rendering of fabrics, the delicacy of the faces, and the calibrated management of light evoke with fidelity the elegance and intimacy characteristic of the Dutch school of the 17th century.
The original gilded wooden frame, finely shaped, features a metal plaque at the bottom with the title of the work and the artist's name. On the back of the canvas, a handwritten inscription in Italian cursive in charcoal displays Metsu's title and birth and death dates, adding further historical charm to the work.
A work of great taste and decorative quality, typical of Italian academic production of the nineteenth century, created with philological respect towards the masters of Dutch Baroque.

